This page shows the main stages
in execution of a large scroll (60cm x 24, approximately A2)
on goat parchment, with gilding on plaster-based gesso.
Before any of the actual work begins on the scroll
itself, there are many hours of research involved. The
time-period for the scroll must be decided, and exemplars of
the style studied. This scroll is based on the
Bible Historiale, from around 1357, and is in
the style known as "International Gothic."

The design itself must then be
worked out--not only the elements to include, but the
overall layout. The design here is of St George
slaying the dragon--a fitting knightly quest. The small
miniatures represent the knighly virtues: measure,
justice, courage, humility, loyalty, courtesy and
magnanimity.

The calligraphy must be written
out (sometimes several times) until the scribe is sure it
fits the space allotted (or the design adjusted until it
fits the calligraphy, as appropriate). A full-size
line drawing will be made on paper, any final adjustments
and corrections made, and this design then transferred to
the parchment itself.

Parchment can be a tricky
medium to work with; it is very sensitive to relative
humidity and tends to buckle in unexpected places. It
may need flattening several times under weights while it is
being worked on, unless it is fastened firmly to a
board. Care must be taken not to over-wet it, as this
can raise a nap which is difficult to flatten out
again.

Finally, there are the ink and
paints themselves. The scroll was written with Chinese
ink and illuminated with gold leaf, gold powder and period
pigments. Red tones are made from brazilwood and
dragon's blood, flesh tones are red ochre and zinc oxide
with some egg shell. Blues are lapis lazuli, some with
a little black nightshade juice. Greens are Malachite
or veridigris, and some parsley juice. Yellow is made
from saffron, white from zinc oxide. These paints must
prepared by hand, grinding them finely and binding them with
gum arabic or glair.

Initial drawing and gesso
laid for gilding

At this stage the design has
been pencilled onto the parchment, and the plaster-based
gesso on which the gold will be laid has been painted on in
several layers and smoothed. The gesso is coloured
pink with red ochre and naturally pink egg shell to give a
warmer base for the gold.

The scroll text has now been
written, and the gold laid and burnished to a mirror shine.
Rehydrating the gesso sufficiently for the gold to
adhere properly can be quite tricky; success is
dependent on relative humidity. Gum arabic, tinted
with a little saffron, was painted onto the gesso as the
gold was laid. The work must be done in a very still
environment as gold leaf is very delicate and can be blown
around by the slightest draft.

The main areas of red and blue
paint have now been filled in and the base colours for the
grisailles--pale grey, flesh tone and pale green--have also
been laid. At this stage the paint is quite flat,
with no details or highlighting.

Details of the grisaille images
are starting to be painted. Grisaille is
a technique of painting in monotone, or with very few
highlights in other colours as in this case, which demands
great skill from the artist. Extra shading has also
been added to the coloured backgrounds, and the device is
essentially finished.

The scroll is now
finished. Diapering has been added to the backgrounds
of all the miniatures, and to the mantling and arms.
Tiny shadow angels and demons have been drawn in to the
background of the main panel. The ivy leaves have been
shaded, and white highlights and dark outlining added to the
all miniatures. The entire design has also been
outlined in black ink with a tiny brush.